Jonathan Miller’s Mafioso-style Rigoletto, first unveiled in 1982, would seem to be imperishable and has returned yet again to the Coliseum. If the set has not already been infested with woodworm, it’s lost little of its evocation of New York’s Little Italy of the 1950s. Its night bar (redolent of Edward Hopper’s Nighthawks), darkly lit tenements (surely inspired by the film of West Side Story) and opulent hotel lobby (not so far removed from the Waldorf Astoria) conjure all you need to convey a world of sleaze and peopled here mostly by a chorus of men in sharp suits recalling The Godfather.
Cultural references aside, this clever relocation from Renaissance Mantua to the Big Apple needs more than a well observed visual transformation for Verdi’s breakthrough opera to have any emotional pull and push. While Elaine Tyler-Hall’s reboot remains eye-catching (and the renowned juke box moment still prompts a laugh), the duke’s cocktail party lacks a sense of menace and intimidation, with interactions on stage about as sinister as an annual estate agents’ convention. That said, the rear stage string ensemble offers a sly jape at gangster-carrying violin cases, even if the whole is more urbane than ominous.
Musically this Rigoletto is good, at least uniformly so from the acclaimed ex-Opera North conductor Richard Farnes. He draws alert and incisive playing from members of the ENO orchestra and brings a timely reminder to Arts Council England, if they can be bothered to take any notice, of what a cultural gem this company is. Under Farnes, Verdi has never sounded so gorgeous or stylish and what a splendid opportunity this superb ensemble has next year when it becomes the resident orchestra for Wasfi Kani’s Grange Park Opera.
Less convincing is the casting, a mixed affair with the American baritone Weston Hurt making an impressive ENO debut as the cursed hunchback Rigoletto. He’s more bartender than court jester but inhabits an easy stage presence lumbering around with a warm, generous tone, and is clearly unimpaired by his disability – he was born without a right hand. It’s a comfortable and well-projected voice, ideal for the part in many ways, though we rarely hear moments of real distress or self-loathing. As Rigoletto’s daughter Gilda, Robyn Allegra Parton (also making her ENO debut) is a perfect fit for the role’s coloratura. She’s wonderfully light and airy in ‘Caro nome’ and exhibits no less control in the sensitive shaping of ‘Tutte le feste al tempio’. A pity there are times when the relationship between father and daughter never really catches fire, with spontaneity of movement and expression largely absent. Things are not helped by Yongzhao Yu as a stolid and silver-suited duke. Coupled with his one-size-fits-all manner of vocal delivery this Chinese tenor might have been singing in his own language, so little did we hear James Fenton’s English translation with any clarity. Suave he may be, seductive he’s not and there’s little obvious reason for Gilda to find him attractive.
There are some finely sung lesser roles, chief amongst which belong to bass William Thomas, who makes a highly credible assassin Sparafucile; his mahogany tones and malevolent presence insinuating themselves at each shadowy appearance. It matters little that we hardly see his face in Act 1, his body language provides all that’s necessary to suggest his murderous intentions. Amy Holyland as Maddalena exudes a certain poise as Sparafucile’s sister and adds lustrous tone to the Act 3 Quartet, while Sarah-Jane Lewis makes an admirable if mercenary Giovanna, Gilda’s duplicitous guardian. Elsewhere in this mainly British cast, Thomas Elwin (Borsa) and David Kempster (Monterone), make rewarding contributions, the latter when condemning the duke and cursing Rigoletto. The expanded ENO chorus is on tremendous form, none more so than in Act 2’s rousing set piece.
Altogether, it’s a show well worth revisiting (it continues to November 21st), and while eyes may remain dry in the final scene there’s plenty to hold your attention with most of the singing and some riveting orchestral playing.
David Truslove
Rigoletto
Music by Guiseppe Verdi
Libretto byFrancesco Maria Piavebased on the 1832 play Le roi s’amuse by Victor Hugo
Cast and production staff:
Duke of Mantua – Yongzhau Yu; Rigoletto – Weston Hurt; Gilda – Robyn Allegra Parton; Sparafucile – William Thomas; Maddalena – Amy Holyland; Giovanna – Sarah Jane Lewis; Count Monterone – David Kempster; Marullo – Patrick Alexander Keith; Borsa – Thomas Elwin; Count Ceprano – Edwin Kaye; Countess Ceprano – Joanne Appleby; Page – Annabella- Vesela Ellis; A Henchman – Ronald Nairne
Director – Jonathan Miller, Revival Director – Elaine Tyler-Hall; Lighting – Robert Bryan; Designers – Patrick Robertson & Rosemary Vercoe; Lighting – Robert Bryan; Revival Lighting Designer – Ian Jackson-French; Chorus and Orchestra of English National Opera; Conductor – Richard Farnes.
Coliseum, London; 2 November 2024.
Top image: Yongzhao Yu (Duke of Mantua), Joanne Appleby (Countess Ceprano), and the cast
All photos: Tristram Kenton/ENO